Guard of honour (Aan)

Or should I say taming of the shrew? For, more than half of Mehboob Khan's Aan shows Jai Tilak trying to win over the admiration and love of the hugely vain Rajkumari Rajshree. But, no one's complaining here. In the thorn-filled path of Jai and Rajshree's union, there are a gamut of songs, fencing duels, daunting escapades and plenty of delightful action. Not to mention the antics of the swashbuckling hero, his easy charm and the attraction of sexy Nadira in her introducing lead role.

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Shades of the showman (Shree 420)

Count Ranbir Raj's initiation into the con world complete when with one swift hand move he shows Maya how the honest country lad can don the garb of the smooth Rajkumar of Peeplinagar. In an instant, his eyes look narrower, his lips curl into a devious grin and his adorable face sheds its agreeable quality to attain a roguishly attractive sheen. It is almost as if the bright lights of the rich society of Bombay has affected him inside. The change is not just in his attire. Ranbir Raj becomes a new person altogether. Ready to rob every pocket to better his prospects in this cut-throat world of greed, crime, power and deceit. It is then that Shree 420 comes into its own. Raj Kapoor's tale about an honest and cheerful Ranbir Raj catapults into a drama more entertaining and  enthralling.

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How green was this valley (Hariyali aur Rasta)

Of 1962's Hariyali aur Rasta, 1964's Apne Huye Paraye and 1965's Himalay ki God Mein, I am most fond of the first film. All of them star the trio of Manoj Kumar, Mala Sinha and Shashikala. All of them pair Kumar and Sinha with Shashikala playing the third woman out to disturb the happy romance between the couple. And, all these films have a roughly similar plot with a tweak here and a twist there. Manoj Kumar falls for Mala Sinha but has to marry Shashikala (either because he is betrothed to her or because she is cunning enough to trap him). But the man can never forget his past love.

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Escapist ending (Dil Apna Aur Preet Parai)

Not fair. I'm not convinced with the climax of Kishore Sahu's Dil Apna Aur Preet Parai. This 1960 triangular love story (produced by Kamal Amrohi) finishes in a rather tame fashion. Without any procrastination, the director conveniently bumps off the wife so that the sweethearts can continue their life in bliss! So, does Sahu mean to say that it is absolutely normal to harbour romantic thoughts for a woman who is not your wife? That ignoring your wife can never be too bad? This romantic drama is not devoid of flaws...

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Terrific tramp (Awara)

The first thing that strikes me when Awara opens is how shockingly handsome Prithviraj Kapoor is. Pushing 45, this heavily built man almost reminds me of a Greek God. Playing the obstinate Justice Raghunath, Prithviraj shows why the Kapoors could mesmerise the audience with panache. Every expression is spot on, his booming baritone modulates impeccably, his eyes belie happiness, pain, sorrow and scare with utmost ease and his personality is too overwhelming to avoid. Thank heavens he passed on those brilliant genes to his sons...

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